Sentences with phrase «out shots in the film»

One of the stand - out shots in the film is an extended jogging scene where Michael Fassbender shakes off his mounting series of problems with sex addiction and family.

Not exact matches

It's the title, too, of a particularly cynical BoJack Horseman episode about mass shootings, in which beleaguered film producers find themselves rolling their eyes while they trot out the phrase, again and again, in response to real events as they try to get back to the «actually pressing business of making sure the movie gets made.»

Check out the impromptu video we shot the night before I was filmed deflowering a virgin in while his parents look on and munch popcorn.

A non-profit group is rolling out a set of resources it hopes will make it easier for film companies to shoot a movie in central New York.

«Someone wearing a green shirt, we have on film a lime green shirt, took out a gun, shot four people in the vicinity of the basketball court, one of them being a player, and chased another individual across the street and shot that individual.»

Western New York has missed out on being the setting for a major motion picture, but Republican state Senator Patrick Gallivan hopes the loss of the movie «Draft Day,» starring Kevin Costner, will help push along a bill that would offer tax credits for films to be shot in New York state.

Move around however you need to for the perfect shot with the Wingsland, which cancels out the motion in the film.

In addition to his photography Vivanco has branched out into film, shooting videos for Dolce & Gabbana, Cesare Paciotti and Pull & Bear.

(The film is alternately shot in bleached out colors.)

Shot on the actual island, the film has a washed out and bleak look that obviously mimics its location in the foggy and cold bay area.

Much of what is spelled out in the book is artfully condensed for the film, which was shot in Croatia and is pretty enough to double as a tourist lure.

The film feels like it's been assembled by committee, and news stories about the film's troubled production bear this out: after an initial round of photography during which the ending was being crafted almost on the fly, the film's release was delayed so that a new ending could be written and shot in an attempt to glue together two halves of a story that still don't feel like a whole.

The film was obviously shot in one day, but the cast and crew rehearsed for months to time their movements precisely with the flow of the camera while capturing the complex narrative, with elaborate costumes from different periods, and several trips out to the exterior of the museum.

That group brings the thunder in the film's very violent - almost cartoonishly so - finale, and it's an epic shoot out with one gag that is so over the top I'm amazed it worked.

While the milieu of The Strongest Man might be overly familiar to those who watch a lot of indie films (lots of static, symmetrically composed shots, a cast of disaffected, ennui - filled characters), Riches invests enough humanity in the story to make it worth seeking out.

That one is in London, but if it's in town I'll be there everyday, but when it's out of town, especially that film which shot in Morocco and London.

Director Nimrod Antal opens the film with a quick punch in the nose; the audience's first shot is of Royce (Adrien Brody) unconscious and dropping like a rock out of the sky.

Ed Gonzales, Slant Magazine: Butler, whether sliding out of a car door to shoot at a pursuer or jumping from scaffolding and into a nearby building, is as fleet on his feet as Najafi is in his sculpting of the film's flurry of action.

A call has gone out to look for up to 500 extras to appear in Woody Allen's 2014 film, the comedy starring Colin Firth and Emma Stone, set to shoot in France in just over a month.

Romanek shoots the hell out of the film, turning in one of the most beautiful looking pictures of the last few years.

The youth and comparative inexperience of the «Social Network» ensemble would make it an atypical winner in the category — but at the same time, counting out Jesse Eisenberg's long - shot Best Actor bid, this is the only place where voters can acknowledge the most acclaimed and awarded film in the race.

The festive film was shot at the height of summer in order to be ready for in time for the Christmas market, but the stifling heat in Louisiana got the better of John and he ended up taking out his bad mood on the crew and his fellow castmembers.

In Benton's case the western reference is harder to detect but central to the conception throughout; the film even climaxes with the equivalent of a western showdown and shoot - out.

While we haven't heard a whole lot about Promised Land so far, the fact that the studios are going out of their way to ensure it has a shot at the big awards suggests they have a lot of faith in this film.

The supremely clear 2.40:1, 1080p transfer brings to mind an answer print projected under ideal circumstances, though some shots in the final third of the film are subtly out of register, perhaps betraying the dual - strip 3 - D process in which the climax was shot for IMAX exhibition.

Could you imagine if a cheeky shot was leaked out of Bruce Willis wearing a racist sandwich board, in the nude, before the film was released and therefore out of context?

Having gone from one of the few actors in Hollywood whose association with a film would guarantee it box office success to being in a string of high - profile disasters, Arnold Schwarzenegger's career (political and thespian) needed a shot in the arm, and what better way than by resurrecting his most popular character for one more outing.

Lance and Alvin's dialogue is intercut with shots of the flora and fauna of this burnt - out corner of Texas, because of their intrinsic beauty and because, as in all Malick films and Green's favourite Days of Heaven especially, this too continues, regardless of the pretensions and conflicts of the humans passing through.

Frances McDormand (Miss Pettigrew Lives for a Day, Friends with Money), as the ultra-feisty National Security director, gets to storm in and out of vehicles and walk fast and determined with her entourage of government agents, but her only significance to the film is she is the only female in the series to not look like she has jumped out of a Victoria's Secret catalog (the charisma-less Rosie Huntington - Whitely gets most of the cheesecake shots, replacing the equally vapid crackpot, Megan Fox).

Films that might have fit this putative strand included the charming but overlong Timeless Stories, co-written and directed by Vasilis Raisis (and winner of the Michael Cacoyannis Award for Best Greek Film), a story that follows a couple (played by different actors at different stages of the characters» lives) across the temporal loop of their will - they, won't - they relationship from childhood to middle age and back again — essentially Julio Medem - lite, or Looper rewritten by Richard Curtis; Michalis Giagkounidis's 4 Days, where the young antiheroine watches reruns of Friends, works in an underpatronized café, freaks out her hairy stalker by coming on to him, takes photographs and molests invalids as a means of staving off millennial ennui, and causes ripples in the temporal fold, but the film is as dead as she is, so you hardly notice; Bob Byington's Infinity Baby, which may be a «science - fiction comedy» about a company providing foster parents with infants who never grow up, but is essentially the same kind of lame, unambitious, conformist indie comedy that has characterized U.S. independent cinema for way too long — static, meticulously framed shots in pretentious black and white, amoral yet supposedly lovable characters played deadpan by the usual suspects (Kieran Culkin, Nick Offerman, Megan Mullally, Kevin Corrigan), reciting apparently nihilistic but essentially soft - center dialogue, jangly indie music at the end, and a pretty good, if belated, Dick Cheney joke; and Petter Lennstrand's loveably lo - fi Up in the Sky, shown in the Youth Screen section, about a young girl abandoned by overworked parents at a sinister recycling plant, who is reluctantly adopted by a reconstituted family of misfits and marginalized (mostly puppets) who are secretly building a rocket — it's for anyone who has ever loved the Tintin moon adventures, books with resourceful heroines, narratives with oddball gangs, and the legendary episode of Angel where David Boreanaz turned into a Muppet.

The entire gag takes a long while to play out (the money shot - close - up on a set of buttocks most definitely not those of the 62 year - old Willis), though it is infused with the kind of nutty energy that Willis last exhibited in his 1991 megaflop, Hudson Hawk (a film that has since acquired an army of «guilty pleasure» defenders, including yours truly).

John Ford takes on the legend of the O.K. Corral shoot - out in this multilayered, exceptionally well - constructed western, one of the director's very best films.

As for «Short Circuit, «the film quickly disappoints after a cute opening sequence in which we see the army present a new breed of mechanical soldier able to dish out laser shots and withstand any firepower.

Frequently filmed in a sort of washed - out, oversaturated hue, the fights are crisply shot and well choreographed and the camera tends not to linger on the damage done.

The reason why Lionsgate are moving quickly is because they're running out of time with shooting on the film planned to begin in August so they can have access to Jennifer Lawrence before she reports to Fox for the «X-Men: First Class» sequel in January 2013.

Director Jonathan Liebesman background in horror films shines through in some genuinely tense moments, and one or two of the action sequences are well executed (a massive shoot - out on a freeway overpass is a particular highlight), but the potential of this movie is both wasted by a lack of general coherence, and then destroyed by dialogue that swings wildly from cheesy patriotic to unintentionally hilarious.

In what turned out to be one of the highlights at this year's CinemaCon was the stunning, 10 minute footage from Peter Jackson's new movie, the epic 3D film adaptation of Tolkien's The Hobbit (which opens December 14) that was shot at a frame rate of 48 per second achieving an unprecedented combination of uniformity and brightness.

A fire broke out in the basement of a building being used to shoot the film «Motherless Brooklyn,» which Norton is directing

Collette's most recent outings (Little Miss Sunshine, In Her Shoes, The Last Shot) have been fairly disappointing (due to the films rather than her performances), and it's interesting to note that she was in the thriller Like Minds right after thiIn Her Shoes, The Last Shot) have been fairly disappointing (due to the films rather than her performances), and it's interesting to note that she was in the thriller Like Minds right after thiin the thriller Like Minds right after this.

One of the film's earliest shots even feels like it's ripped straight out of Akira Kurosawa's Dreams, a film in which Scorsese himself performed, evoking authenticity from cinematic history and actual history in even measure.

In the first film it was actually Stan Winston actually working together with Dennis Muren putting their heads together to try to figure out how to make these blends from mechanical full - sized puppeteering to the digital wider shots.

In a Frederick Wiseman - ish way, some of his subjects appear for only a single brief scene, while some recur throughout, and they're certainly a broad selection: an aristocrat who hires his family home out for film shoots, paramedics, an eel fishermen, some transsexual prostitutes, and a man trying to stop insects from destroying palm trees.

Following a single father who works as a human billboard in Taipei, and his left - to - their - own - devices kids, with the presence of their mother represented by three different actresses, the film has the barest thread of story (Tsai has admitted that he no longer has any real interest in narrative), and seems determined to provoke less patient audience members into walking out, with a series of shots that last upwards of ten minutes without all that much movement in them.

A five - minute featurette called «Greetings From Bull Mountain» is the standard five - minute B - roll / soft - sell interview errata that features a few additional male buttock shots; «King of the Mountain» is a two - minute music video that splices action sequences from the film together with bloopers and sets it to music (something resurrected in feature - length form by this year's ESPN's X-movie); and nine chapter - encoded deleted scenes (blissfully sans commentary and running between fifteen seconds and a minute, each) are essentially long «comedy» shticks that prove for as bad as Out Cold was, it could have been even worse.

Then finally he put together his last film, Far from Home: The Adventures of Yellow Dog [1995], with Mimi Rogers, Jesse Bradford and Bruce Davison, a movie that was set and shot in the area of British Columbia where he was living, that has two boy characters who are named after his own sons, and which sadly turned out to be a film whose release he didn't see.

In keeping with the director's late style, it's a series of disjointed and overlapping ruminations and jokes, half - oblique narrative and half - essay film, shot in an experimental digital 3D that is guaranteed to slice out your eyeballIn keeping with the director's late style, it's a series of disjointed and overlapping ruminations and jokes, half - oblique narrative and half - essay film, shot in an experimental digital 3D that is guaranteed to slice out your eyeballin an experimental digital 3D that is guaranteed to slice out your eyeballs.

He also has three other films out this year - The Lobster, which was shot in Kerry, Miss Juilie in which he stars opposite Jessica Chastain, and Solace, with Anthony Hopkins.

While not quite Terrence Malick in terms of jumping off script and going off to shoot the migration of a rare species of bird, Anderson does shoot a lot of film, and as fans found out with «The Master,» he leaves a lot on the cutting room floor.

In a way, you almost need to have very good charts and maps on the walls, so you know - because you're shooting out of order, because you're shooting at a rate of knots - what you have planned before the film starts.

By the halfway point in the film, we already had the Irish mob, the Italian mob, an illicit affair, car chases, shoot - outs, some major deaths, Prohibition ending, drugs, booze, the KKK... and then we get a crooked Sherriff, more racists, teenage prostitution in Hollywood, blackmail, fundamentalist rallies, gambling, more shootouts, two Not Entirely Unexpected Twists and more deaths.